Saturday, 19 May 2012

Tamanna is an interesting story with many twists - Steven Moore

There is,
however small, a definite change happening in the Pakistani film industry.
Young, dynamic filmmakers are now trying to leave a mark with their fresh ideas
and concepts and there is a general sense of positivity and hope around; a
sentiment which has been absent for the longest time now.

One project
which has been attracting attention on a global scale is feature film
'Tamanna'. Produced by Sarah Tareen, who is one of the first film graduates
from Pakistan and now CEO of Concordia Productions, this is surely a project to
look out for in the future for the simple reason that the people associated
with it not only have talent, as can be seen by the early promos, but
experience too. Director Steven Moore has specialised in image making for the
last 30 years as a photojournalist, cinematographer and director; he clearly
seems to be a knowledgeable man with a clear vision for 'Tamanna'.

Q: Congratulations for Rahat Fateh Ali Khan winning
the award for Best Music Talent at the London Asian Film Festival. Do
pre-release accolades provide positive energy or do they mount pressure?

A: A film is made up of the sum total of all the
decisions and milestones along its life, which for any decent effort, will be
measured in years not months. Historically, independent low, budget movies are
much more reliant on the festival circuit as part of their route to existence.
So, yes it's a positive milestone, relatively early in the process.

Q: While not much is known yet about the plot, other
than its principal star cast and main themes, 'Tamanna' gives off a very 'film
noir' kind-of feel. What is the exact genre and how does that co-relate to the
narrative of 'Tamanna'?

A: It's an interesting story that has many twists, and
we have spent a lot of time with other writers trying to twist it more. Also it
is the kind of plot that can be made into a campy melodrama or made to be very
creepy. We have practiced quite a bit of misdirection with the songs, video
material released and cast changes and will continue with this to try to make
it as interesting as possible. It would be a shame if due to marketing demands
we have to give too much of the actual film away, like they do with so many
others. I hate that 10-minute promo that has like 200 of the best shots from
the movie, it's a shame they feel they have to do that.

Q: Language is another evident theme in your film. How
important is language as a medium, seeing that you're not a native speaker of
Urdu and English is not the first language of Pakistan?

A: It's not a film that relies on action, rather on near
perfect dialogue well-acted. The function of dialogue is to flesh out both the
character and the story. You first have to understand how the characters think.
All the dialogues are carefully translated back and forth between English and
Urdu. It just takes more time.

Q: Having an academic background always helps. You
have taught Film at Beacon House School System and SAFMA. How important is
solid background knowledge in film for young Pakistanis trying break into the
film industry?

A: It's a huge topic, because it is difficult enough to
answer that in any country. Just as many people do well with no 'formal' or
academic training. Basically education is good, but it doesn't actually propel
you in any film industry. It certainly isn't banking; you may as well be asking
how does someone become an artist? The answer is - sell paintings! Getting
yourself in the right position is always the first test. A person's drive gets
them into the position to learn and then the skill picked up along the way
determines how far you will go.

Q: Does it bother you that you are first and foremost
considered to be 'a British director' in Pakistan, or do people treat you like
another director? Do you think people can see beyond the fact that you aren't
'from here' or are you treated differently regardless?

A: It doesn't really matter because my work here is only
with key players. In the end what people like you say about the film when it's
released, in the papers, on the Internet and on TV, will decide if people want
to see it or not.

Q: In relation to that, how important is
professionalism in Pakistan and how have your experiences been in that regard?

A: I hate to generalize. It's too easy to play the blame
game and I have made negative comments before, but in the end I love it. A
system relies on every part of it working; it's difficult for everybody when
you don't have electricity and other factors like the extreme weather. In the
end, Pakistan is a unique place and has unique qualities and difficulties, but
I wouldn't choose to be anywhere else.

Q: Please tell us something about the films you like
and films that have inspired you, specifically in terms of 'Tamanna'.

A: It's the first time I've been asked
this question. We looked at all Guru Dutt's movies, like 'Kaagaz Ke Phool'
(1959), Deepa Mehta's 'Earth' (1998), Shehkhar Kapur's 'Masoom' (1983), Shyam
Benegal's 'Zubeidaa' (2001) and Mani Ratnam's 'Dil Se' (1998) for characters
and dialogue, but I looked at 1001 Nights, the book, for its narrative form in
trying to work in the frame story device. Personally I like a range of films
but as you astutely noticed I am very keen on working the film noir genre in to
almost anything!

Q: What does the word 'Tamanna' mean to you? What is
it that 'man' desires?

A: Well generally and in the context of the film I think
belonging is the key desire, belonging, or your place in the world through
which you achieve a sense of peace.